Sonata Pian'E Forte

Beethoven Complete Piano Sonatas Volume I. Edited by Harold Craxton. Annotated by Donald Francis Tovey.

A highly comprehensive edition of Mozart's Piano Sonatas in two volumes as edited by Stanley Sadie and fingered by Denis Matthews. Includes detailed editorial commentaries markings and suggestions. Volume 1.

F-Dur. Par GABRIELI GIOVANNI. Giovanni Gabrielis Sonata Pian e Forte verdankt ihren Namen und ihre Bekanntheit nicht zuletzt der Tatsache, dass sie als eine der ersten Kompositionen überhaupt Angaben zur Dynamik im Notentext enthält. Im Rahmen der Entstehung einer eigenständigen, von der Vokalmusik unabhängigen Instrumentalmusik um die Wende vom 16. zum 17. Jahrhundert zeugt die schriftliche Fixierung solcher aufführungspraktischer Elemente von einer gänzlich neuen kompositorischen Denkweise. Dazu gehört auch die Präzisierung der ausführenden Instrumente durch Gabrieli: zwei Trombonenchöre, die im Diskant von einem Zink bzw. einer Viola angeführt werden. Die vorliegende Edition präsentiert dierepräsentativ-feierliche Sonata in einer Kritischen Neuausgabe und stellt zusätzlich - entsprechend der damaligen Aufführungspraxis - eine bezifferte Orgelstimme zur Verfügung./ Répertoire / 2 Choeurs Instrumentaux à 4 Parties/Cornet à Bouqu

L'oeuvre musicale qui a pour support une Partition Et Parties a pour titre Sonata Pian'E Forte. C'est une partition musicale composée par Gabrieli/King et qui est destinée aux joueurs de Musique de Chambre. Le détail de l'instrumentation Octuor De Cuivres vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Octuor De Cuivres / Partition Et Parties

Un fragment autographe de la Sonate pour violon op. 47 est intitulé, dans la main de Beethoven, 'Sonata mulattica composta per il mulatto Brischdauer, gran pazzo e compositore mulattico' ' signifiant « Mulatto Sonata composée pour le mulâtre Brischdauer, grand fou et compositeur mulâtre ». La genèse de la sonate, qui allait devenir célèbre sous le nom de « Kreutzer Sonata », est étroitement liée à la visite de George Augustus Polgreen Bridgetower (1778-1860) à Vienne, violoniste de père afro-caribéen et de mère européenne. Dans la langue de cette époque, sa descendance fait de lui un mulâtre. Beethoven était apparemment profondément impressionné par la musicalité et les capacités virtuoses de Bridgetower. Cependant, lorsque la sonate fut publiée en 1805, il la dédia à Rodolphe Kreutzer sous le titre 'Sonata per il Pianoforte ed uno violino obligato in uno stile molto concertante come d'un concerto'. L''uvre « à la manière d'un concerto » est probablement la sonate pour violon la plus exigeante de Beethoven, et fait partie du répertoire principal des grands virtuoses du violon depuis le XIXe siècle.

Par NEEFE CHRISTIAN GOTTLOB. Edition : Leipzig, E.B. Schwickert.Présentation de Pascal Duc : Biographie - Erreurs et suggestions.Professeur de Beethoven, compositeur de talent, Neefe a dédicacé ces sonates à C.P.E. Bach. L'impression en caractères mobiles, de type ' - mosaïque - ', permet une lecture aisée de la partition. / Niveau : Facile / Répertoire / Piano ou Pianoforte (Fac-similé)

Volume 11 K. 507-555-Italian composer Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day and it is for this reason that this eleventh and final volume is indispensable to performers of the genre. Originally composed for the Harpsichord Organ or early Pianoforte the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music considering that he spent much of his working life in the service of the Spanish and Portugueseroyal families. The eleventh volume comprising Sonatas 507-55 includes the popular and recognisable Sonata in E major (K. 531). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day so much so that he was employed in the service of two royal families his Sonatas are composed with much experience understanding and expertise creating an essential addition to the repertoire of all Keyboard players of the Baroque genre.

Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano